Our main experimental findings are the following: (1) in the sequential contribution treatment with information the average contribution is larger than in the sequential contribution treatment without information and to some extent larger than in the simultaneous contribution treatment, but individual contributions decline with the order of play; (2) sequentiality without information about contributions (pure ordering) has no effect on contributions; (3) the length of the sequence (group size) has no significant impact on the average level of contributions; (4) the decline of the average contribution with the rank of the player is attributable to the combination of a vanishing leading-by-example effect and the erosion of reciprocity.

To sum up, despite all mentioned differences, there are quite some similarities and sequentiality in the distribution patterns of the both the newspaper reporting on atrocities and the government action.

The majority of narratological models explicitly or implicitly rest on the premise that narrativity is constituted by the combination and interaction of two different dimensions, of sequentiality and mediacy: a sequence of incidents (together with existents such as figures and setting) evolving in time, on the one hand (termed "histoire" by Genette, "story" by Chatman) and, on the other, the structured representation and communication of such a sequence by a mediator in a semiotic medium and from a particular position (Genette's "recit", Chatman's "discourse").

There are three central tenets of her theory: the unitary nature of the ego, the ego representing an integration of diverse personality characteristics (cognitive functioning, personal and interpersonal awareness, and character development), and the sequentiality of ego stages (albeit possible to reverse the sequence).

Additionally, the importance of the timing of the emergence of each component is discussed in the conflict process and its initiation addressing the issues of sequentiality and the concomitance of the three components.

If, as Bloom suggests, Emerson is the "theologian" of the American Religion, then he is the linchpin of the Puritan and Gnostic visions, which are not, contrary to easy assumptions, divided by time and their sequentiality nor by their apparently dichotomous doctrines, separately bent on the respective submission and celebration of the self.

The Angel of History lacks the hortatory, prophetic confidence of Trilogy and its insistence that history is an epiphenomenon of the sacred, but both poems disrupt and discard the idea of history as sequentiality.

Our momentary assumption that prayer has been efficacious is partly effected by Anny's characteristically equivocal use of the phrase 'And so', which she sometimes employed to indicate mere narrative sequentiality and at other times to indicate a degree of consequentiality: this grammatical ambiguity accords, at a deeper level, with Anny's sense of a world governed by a combination of chance and the human decisions taken in response to what fate delivers.

Rather, Ellison's stance on eloquence and form resembles the stance of Henri Bergson regarding his concepts of elan vital and duree reel: just as the very sequentiality and orderedness entailed in our perception of events tend to fragment otherwise irreducible living systems, rendering the living curl a mere succession of straight lines, so to speak, so does Ellison's young speaker witness the petrification of his own impulse to speak (his own elan vital, in a way) in the forms he finds available to him.

And as the demarcation lines between genres get blurred in the postmodern world, these genres also fuse with the media in a constant process of remediation, one in which chronology and sequentiality give way to a recombinatory logic.

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